View allAll Photos Tagged PERSPECTIVE
Taken from the Fish Island (Incahuasi) in the Uyuni desert, Bolivia. The spec on the right hand side is a stopped Landcruiser.
This is a corridor of nearly 75 year old temple. Situated in interior North Goa.
The campus is huge that also houses residential quarters for the temple priests and other staff.
These are editorial proposals for the second issue of my ILM (Intellectual Lifestyle Magazine). The main focus of this proposal was to showcase a new Arabic, display typeface I had developed.
This issue of ILM would explore a conflict (for example, Israel - Palestine) with the same rigorous, academic investigation as before with the topic of hijaab. Given how this publication breaks down an issue, I thought it would be interesting to further reflect this unique “journalism” in the design and aesthetic by opening every new article profiling an individual “involved” in the conflict with the initials of their name (in Arabic).
As well as an overview and history of the politics, geography and population of the region, the magazine would engage the issue on a grass roots level, conducting in-depth interviews with leading members of governmental, political and militant factions on both sides to gauge how the situation has been affected by those leading the charge on various fronts and more importantly, individuals of all ages and backgrounds who make up the rich population of this comparatively, small geography – to introduce the perspective of those whose lives are affected by the decisions of their respective leaders or leaders of nations around the world.
Expect more design development for ILM based on this theme very soon :)
Editorial design / Arabic type:
Muiz Anwar.
Photography:
Qamar Ramzan:
www.flickr.com/photos/qamarramzan/2181324043/in/set-72157...
My first attempt at two point perspective drawing done in Biro. Inspired when I was randomly searching drawings on Google images (Yes, I do that a lot when I'm bored and I need inspiration :D ). Working on other drawings and soon there will be one big piece, so stay tuned!
Ajith :)
Change your perspective and you change your reality.....
With the 24-70 on my 5d I finally feel as if I can breathe again. I know the 50 1.4 is a wonderful lens, but I've never felt comfortable with it....give me a wide angle and something different happens when I look through the camera.....to use a horrid pun - something just clicks :)
(I still want to go wider, but all things in good time).
My office building is quite long. This is a shot from the middle - it reaches the same distance in the other direction.
Handheld HDR, hence a slight mismatch in the aligning.
An additional 3rd time my friend michelle was nice enough to give me her time to fool around with a photoshoot and was able to get this very interesting and abstract perspective.
The European city of St. Augustine was founded by admiral Pedro Menéndez de Avilés for the Spanish Crown in 1565 on a site of a former Native American village. Over the next one hundred years, the Spanish built nine wooden forts for the defense of the town in various locations. Following the 1668 attack of the English pirate Robert Searle, Mariana Queen Regent of Spain, approved the construction of a masonry fortification to protect the city.
The Castillo is a masonry star fort made of a stone called coquina, Spanish for "little shells", made of ancient shells that have bonded together to form a type of stone similar to limestone. Workers were brought in from Havana, Cuba, to construct the fort in addition to Native American laborers. The coquina was quarried from Anastasia Island in what is today Anastasia State Park across Matanzas Bay from the Castillo, and ferried across to the construction site. Construction began on October 2, 1672 and lasted twenty-three years, being completed in 1695.
In 1670, Charles Town (modern-day Charleston, South Carolina) was founded by the British. As it was just two days sail from St. Augustine, the British settlement spurred the Spanish in their construction of a fort. In November 1702, English forces under orders from Governor James Moore of Charles Town, set sail from Carolina in an attempt to capture the city. This was one of the events of Queen Anne's War.
The English laid siege to St. Augustine. All of the city's residents, some 1,200 people, along with the fort's 300 soldiers remained protected inside the wall of the fort for the next two months during the siege.
View of Castillo de San Marcos courtyard
The English cannon had little effect on the walls of the fort. The coquina was very effective at absorbing the impact of the shells, allowing little damage to the walls. The siege was broken when the Spanish fleet from Havana, Cuba arrived, trapping the English forces in the bay. The English burned their ships to prevent their falling into Spanish control, and marched overland back to Carolina. As they withdrew, they set fire to St. Augustine, burning much of it to the ground.
Beginning in 1738, under the supervision of Spanish engineer Pedro Ruiz de Olano, the interior of the fort was redesigned and rebuilt. Interior rooms were made deeper, and vaulted ceilings replaced the original wooden ones. The vaulted ceilings allowed for better protection from bombardments and allowed for cannon to be placed along the gun deck, not just at the corner bastions. The new ceilings required the height of the exterior wall to be increased from 26 to 33 feet.
Image was captured by a camera suspended by a kite line Kite Aerial Photography (KAP)
From the Murder of Halit Yozgat
Kassel, Germany, 6 April 2006
On 6 April 2006, 21-year-old Halit Yozgat was murdered in his family run internet café in Kassel, Germany. His was the ninth of ten racist murders committed in Germany between 2000 and 2007 by a neo-Nazi group known as the National Socialist Underground (NSU). At the time of the killing Andreas Temme, an agent of the German domestic intelligence service (Verfassungsschutz), was present in the café. Temme claimed not to have witnessed the murder.
Within the 77 square metres of the internet café, and the 9 minutes 26 seconds during which the incident unfolded, different actors – members of migrant communities, a state employee and the murderers – were positioned in relation to each other in a manner yet to be made clear, but one whose implications bear great political significance. This unit of space and time stands as a microcosm of the social and political controversy known as the ‘NSU Complex’.
Commissioned by Unraveling the NSU Complex, a Germany-wide alliance of anti-racism activists, Forensic Architecture’s investigation became possible when hundreds of documents from the Hessen police investigation of the murder – reports, witness depositions, photographs, and computer and phone logs – were leaked at the end of 2015.
One of the most important pieces of evidence in this leak was a video of a police re-enactment performed by Andreas Temme. Such re-enactments are often ritualistic events forming part of an admission or confession, denoting justice fulfilled. In Forensic Architecture’s investigation the re-enactment is treated not only as a representation of an event, but an event in itself; a potential crime – of perjury and misrepresentation – in its own right.
Within a reconstructed real-scale physical model of the internet café – the exact dimensions of which are marked here on a black carpet – Forensic Architecture re-enacted this re-enactment in order to examine Temme’s testimony, while also carrying out further tests to analyse the threshold of sensory perception. A video presented here shows moments from this process of re-enactment.
The video triptych 77sqm_9:26min presents Forensic Architecture’s full analysis of the events surrounding Halit Yozgat’s murder. This investigation established that Temme’s testimony was untruthful, opening up to larger questions regarding the involvement of German state agencies with radical right-wing groups. As the NSU trial approaches its conclusion in 2018, the truth of the murder – and above all, Temme’s presence at the scene – remains obscured.
The mural presented here charts the events related to the production, presentation and subsequent contestation of Forensic Architecture’s analysis across multiple forums: press conferences, cultural institutions, public demonstrations, two parliamentary inquiries and a criminal court. In each of these forums, Forensic Architecture was obliged to defend its evidence according to different rules and conventions. The complexity of this flow diagram traces the indeterminate nature of counter forensics, its methods, limitations and points of impact.
[Institute of Contemporary Arts]
Part of Counter Investigations by Forensic Architecture (March-May 2018).
Forensic Architecture is both the name of the agency established in 2010, and a form of investigative practice into state violence and human rights violations that traverses architectural, journalistic and legal fields, and shifts between critical reflections and tactical interventions.
Counter Investigations presents a selection of recent investigations undertaken by the agency into incidents occurring in different contexts worldwide. In parallel, the exhibition outlines five key concepts that raise related historical, theoretical and technological questions. Continuing to be explored in an accompanying series of public seminars, these investigations and propositions add up to a Short Course in Forensic Architecture.
Grounded in the use of architecture as an analytic device, Forensic Architecture has in recent years developed a host of new evidentiary methods that respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and activism.
Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, human rights groups, activists, and media organisations. Their investigations have provided decisive evidence in a number of legal cases, and contested accounts given by state authorities, leading to military, parliamentary and UN inquiries.
Counter Investigations marks the beginning of a long term collaboration between the Institute of Contemporary Arts and Forensic Architecture. The exhibition and this ongoing partnership exemplifies the Institute of Contemporary Arts’ intent to foster and explore new modes of civil practice operating across the fields of art, architecture and activism.
[Institute of Contemporary Arts]